-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
1/25
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
2/25
Mngyjom` Jkaf ms m saojmf djgfk ad jkg`{j{z daynm{ja` m`k ngm`j`b oa`s{ywo{ja`. Ms `a{gk& {ejs
xmxgy rjff m`mfz|g {eg xyaifgnm{jo m{ {ra {gu{wmf fgtgfs {eg djys{ igj`b {eg `gba{jm{ja` ad
ngm`j`b iz Mngyjom` Jkaftjgrgys rj{e ear j{ mddgo{s {egjy mkax{ja` ad m yafg xgydayngy
oa`swngy ad {eg sear& m`k a` {eg sgoa`k fgtgf& ear {ejs tgyz xyaogss om` ig j`{gyxyg{gk j` {eg
fjbe{ ad oabg`{fz xw{{j b dayrmyk m` m`mfz{jo {em{ mbyggs rj{e {eg w{jfj{z ad m kgoafa`j|gk
mxxyamoe {a Xejfjxxj`g owf{wymf s{wkjgs %jd `a{ m{ fgms{ m smnxfgy ad swoe mxxyamoe*.
_J[WM[GK [YMLGO[AYZ AD [EG XYG_G@[ OA@KJ[JA@
[eg Djfjxj`a dj`ks ejnsgfd j` {eg njks{ ad m dymz& a`g {em{ js dymwbe{ iz xafj{jomf m`k
jkgafabjomf msswnx{ja`s& j`sxjygk ia{e iz momkgnjo jnngysja` j` {eg kjmfabwgs ad owf{wymf
s{wkjgs m`k j{s j dfgo{ja` j` {eg djgfk ad xaxwfmy owf{wyg m`k {eg jnxfjgk fjtj b ad swoe
xygkanj`m {fz owf{wymf xymo{jogs. Daowsgk iz {eg soyw{j`j|j b ad momkgnjo m`k xyadgssja`mf
j`{gygs{ byawxs %swoe ms owf{wymf s{wkjgs soeafmys& w`jtgysj{z xyadgssays& bymkwm{g s{wkg`{s& {ej`c
{m`c byawxs m`k `a`batgy`ng`{mf mbg`ojgs*& {eg ygmfn ad Xejfjxxj`g owf{wymf s{wkjgs js m
ygfm{jtgfz `gr mygm ad momkgnjo kjsojxfj`g fmkg` rj{e j{s ar` xyaifgnm{jo ad xyjayj{j|j`b
mxxyaxyjm{g ng{eakafabjgs m`k w{jfj|j`b {eg ygsgmyoe oa`{g`{ xyatjkgk iz oyasskjsojxfj`myz mygms
ad saojafabz& fj{gymyz {egayz& m`{eyaxafabz& xszoeafabz m`k fj`bwjs{jos.
[eg {yg`ks iyawbe{ miaw{ iz {eg oem`bgs j` {goe`afabz& nmssjtg natgng`{s ad kjmsxayjo
xgaxfg byawxs %Djfjxj`as igj b a`g ad {egn*& m`k {eg gngybg`{ {yg`ks m`k gddgo{s ad {eg
9
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
3/25
bfaimfj|j`b rayfk goa`anz& mfa`b rj{e {egjy omxj{mfjs{ w`kgy{a`gs emtg iyawbe{ miaw{ swis{m`{jmf
oem`bgs rj{e ear ygmkgys ad {ejs xmy{jowfmy xeg`ang`m rawfk mxxyamoe j{.
Asomy Omnxanm`gs& j` ejs gssmz [eg Tgy`mowfmy!Faomf& [eg @m{ja`mf& m`k {eg Bfaimf j`
Djfjxj`a _{wkjgs& kgtgfaxs {eg jkgm {em{ {ejs kymnm{jo a`sfmwbe{ ad bfaimfj|m{ja` ems mddgo{gk ear
rg oawfk jnmbj`g {eg `m{wyg ad Djfjxj`a s{wkjgs % 988?& 2:*. [eg Djfjxj`a laj`s {eg ygs{ ad {eg
rayfk j` {ejs ygkwogk bfaimf tjffmbg j` rejoe guoem`bg ad owf{wyg m`k j`daynm{ja` oafaygk iz
faomf m`k gua{jo dayns ems sear` `a sjb` ad sfarj`b kar`.
Rj{e {ejs j` nj`k& {eg egbgna`jo `m{wyg ad ngkjm m`k {eg j`daynm{ja` swxgyejbermz js
m` w`kjsxw{gk dya`{jgy day w`kgys{m`kj`b {ejs owf{wymf wxegmtmf. [eg Xejfjxxj`gs& {eawbe m [ejyk
Rayfk oaw`{yz& js `a`g{egfgss fj`cgk j` {ejs bfaimf `g{rayc {em{ ig`gdj{s dyan {eg guoem`bg ad
owf{wymf c`arfgkbg {eyawbe {eg wsg ad ngkjm m`k {goe`afabz. Rj{e mff {eg dgmys m`k m`ujg{jgs
mssaojm{gk rj{e j{& {eg s{wkz ad bfaimfj|m{ja` ems j{s xyanjsgs day baak %Fgbymj`& 988?< =9*. [ejs
xeg`ang`a` `a{ a`fz sg{s {eg s{mbg day {eg xygsg`{ j`tgs{jbm{ja` day momkgnjos iw{ mfsa j`tj{gs
j`owysja`s a` saojmf xymo{jog m`k {egayj|j`b day m nayg j`dayngk kjygo{ja` ad s{wkz m`k m oeajog
ad xyaxgy ng{eakafabz {a xyaxgy mkkygss j{s {gyymj`s.
Msjkg dyan {eg faanj`b dmo{ay xfmzgk iz ngkjm m`k {goe`afabz& m ygsgmyoegy j`{a {ejs
mygm rawfk mfsa emtg {a oa`sjkgy {eg ejs{ayjomf& {eg owf{wymf m`k {eg xafj{jomf kjng`sja`s ad {eg
j`}wjyz. M{ {eg g`k ad {eg {rg`{jg{e og`{wyz& nm`z [ejyk Rayfk `m{ja`s emtg {eyar` add {eg zacg
ad oafa`jmf ywfg& j`soyjij`b {egjy sg`sg ad jkg`{j{z m{ {eg raycj`b ad {egjy ar` em`ks. [egjy
oa`s{j{wg`{ szs{gns& j`s{j{w{ja`s m`k j`kjtjkwmfs oa`dya`{gk {eg `ggk day sgfdkg{gynj`m{ja` m{ {eg
g`k ad m oafa`j|j`b xargy. [egjy ejs{ayz m`k owf{wyg rgyg s{ya`bfz j`dfwg`ogk iz {eg oafa`jmf
?
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
4/25
xargys {em{ ywfgk {egn. J{ js j`gtj{mifg {a s{m{g {em{ {eg Iyj{jse& {eg Dyg`oe& {eg Mngyjom`s& {eg
_xm`jse m`k a{egy Gwyaxgm` xargys gs{mifjsegk m oa`sjkgymifg kgbygg ad fgbmoz j` tjy{wmffz mff
msxgo{s ad owf{wyg. [ejs oa`tgysm{ja` ig{rgg` {eg oafa`j|j`b xargys fgbmoz m`k {eg faomf
c`arfgkbg fgk j`{a m` a`baj`b oa`{gs{m{ja` j` {eg daynm{ja` ad jkg`{j{z j` j{s j`kjtjkwmf&
oannw j{myjm`& ygbja`mf& m`k `m{ja`mf fgtgf {ews s{ygssj`b {eg yafg ad ear owf{wyg js {eg
jkgafabjomf im{{fgbyaw`k ad {eg nakgy` rayfkszs{gn %Rmffgy{sgj`& 9888< =59;3 _m` Lwm` Ly.&
9889< 72*.
J` owf{wymf s{wkjgs& {eg j`dfwg`og ad {eg xas{oafa`jmf xmymkjbn js m kgtgfaxj`b mygm ad
soeafmyfz j`{gygs{s sj`og j{ xyatjkgk m ngkjwn day tajogs ad [ejyk Rayfk soeafmys dyan Msjm&
Mdyjom m`k Fm{j` Mngyjom {a my{jowfm{g nakgs ad sxgmcj b& owf{wymf my{jdmo{s kjsnjssgk iz
Aoojkg`{mf kjsoawysg& rmzs ad {gu{wmf ygmkj`b m`k GwyaMngyjom` om{gbayjgs. Ms daw`kj b
xmyg {s ad xas{oafa`jmf {egayj|j`b& {eg raycs ad Gkrmyk _mjk& Bmzm{yj _xjtmc m`k Eanj Iemim
emtg xyatjkgk {eg jnxg{ws day m imyymbg ad nwf{jtmyjm{g [ejyk Rayfk tajogs j` nmcj`b {eg
swimf{gy` sxgmc m`k sgytg ms daw`km{ja`mf {gu{s j` g`oawymbj`b dwy{egy kjsowssja` ad [ejyk Rayfk
oa`ogy`s j` {eg mygm ad owf{wymf w`kgys{m`kj`b. J` {eg Xejfjxxj`gs& m`k gtg` mna`b kjmsxayjo
ryj{gys& {eg j`dfgo{ja` ad {ejs `wm`og ad j`}wjyz js {mcj`b semxg j` {eg raycs ad oa`{gnxaymyz
soeafmys fjcg G. _m` Lwm` Ly.& Jsmbm`j Oyw|& _afgkmk Ygzgs& Asomy Omnxanm`gs m`k a{egy
gngybg`{ soeafmys j` {eg iwkkj`b mygm ad Xejfjxxj`g owf{wymf s{wkjgs. [eg raycs ad {egsg soeafmys
egfx tmfjkm{g {eg `ggk {a ygdfgo{ oyj{jomffz a` {eg `ggk {a kgtgfax j`}wjyz a` owf{wymf s{wkjgs ms j{
mxxyaxyjm{gs faomf m`k `m{jtg xyaifgns.
;
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
5/25
OWF[WYMF _[WKJG_ M_ M XYAIFGNM[JO DAY XEJFJXXJ@G _G[[J@B
[eg `a{ja` ad owf{wymf s{wkjgs ms m kjsoawysg gs{mifjsegk {eyawbe {eg raycs ad j{s daw`kj`b
dm{egys %Ymzna`k Rjffjmns& Yjoemyk Lae`sa` m`k Yjoemyk Eabbmy{* om` `ar ig mxxyaxyjm{gk ms
m djgfk ad j`}wjyz j` m [ejyk Rayfk sg{{j`b. [eg oa`{yjiw{ja`s nmkg iz xas{oafa`jmf {egayjs{s
ng`{ja`gk gmyfjgy %_mjk& _xjtmc m`k Iemim* egfxgk g`yjoegk {eg djgfk day dwy{egy j`tgs{jbm{ja`s ms
j{ xyatjkgk m xgysxgo{jtg {em{ j`dayngk {eg {egayg{jomf rayc `gogssj{m{gk iz {eg ejs{ayjomf m`k
xafj{jomf raycj`bs ad [ejyk Rayfk sg{{j`bs. J` ms nwoe ms `m{ja`s j` {eg [ejyk Rayfk myg
msxjym`{s day omxj{mfjs{ s{ywo{wygs m`k oa`ogkg s{ya`bfz {a {eg {g`g{s ad {eg xas{j`kws{yjmf Rgs{& j{
daffars {em{ sang jd `a{ mff owf{wymf xymo{jogs nm`jdgs{gk {ymogs ad {egsg xas{j kws{yjmf&
{goe`afabjomffz kyjtg` m`k omxj{mfjs{ goa`anjgs.
Ogy{mj owf{wymf xymo{jogs ad fgjswyg& rayc g{ejo& saojmf ygfm{ja`s& gkwom{ja`mf&
{goe`afabjomf ms rgff ms xafj{jomf j`ofj`m{ja`s rjff ig dwsgk rj{e Rgs{gy rmzs ad fjtj`b
%oannw{myjm` {ym`sxay{s& kj`j`b aw{ day ngmfs& g`{gy{mj`ng`{ oa`swnx{ja s fjcg {gfgtjsja` m`k
natjgs g{o.* [eg Xejfjxxj`gs& rj{e {eg s{ya`b gnxemsjs j` j{s dgwkmf ygfm{ja`sejxs m`k sg`sg ad
oannj{ng`{ {a oannw`j{z ojyofgs %dmnjfz& xggys& oaffgmbwgs g{o.* ig mddgo{gk iz {egsg xmy{jowfmys
ms m owf{wymf s{wkjgs mxxyamoe {a {eg nm{{gy rjff ig oafaygk iz swoe xgysxgo{jtg.
G. _m` Lwm` nmcgs m s{ya`bgy xaj`{ reg` eg }wa{gs Ymzna`k Rjffjmns j` {eg fm{{gys
gsxawsmf ad m owf{wymf s{wkjgs xyabymn {em{ js ygmfj|gk ms m` mff g`oanxmssj`b rmz ad fjdg
mxxyamoe& a`g rejoe jniyjom{gs m reafg ym`bg ad mo{jtj{jgs& ygfm{ja`s m`k j`s{j{w{ja`s ad gtgyzkmz
fjdg rj{e egwyjs{jo m`k gnm`ojxm{ayz xwyxasgs %_m` Lwm`& =:::< ?7*. J{ js `a{ m ifj`k dmj{e j` m
7
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
6/25
xmymkjbn {em{ daw`k j{sgfd ms oyj{joj|j`b Fgmtjsjm` m`k My`afkjm` dymngraycs mfa`g. J` dmo{ j{ js
Rjffjmns rayc {em{ egfxgk nakgy` fj{gymyz oyj{jos m`k owf{wymf s{wkjgs soeafmys {a w`kgys{m`k {eg
fmybgy yafg ad owf{wyg j` {eg {gu{wmf xyakwo{ja` m`k oa`swnx{ja` ad fjtgk xymo{jogs. J` {eg
Xejfjxxj`gs& {eg ygoatgyz xyalgo{ ad gs{mifjsej`b faomf s{wkz ad owf{wyg ms guxygssgk j` {eg smng
omxj{mfjs{ w`kgyowyyg`{s ad xafj{jomf goa`anz m`k xafj{jomf `g{raycs ad mktgy{jsj`b& nmycg{
oa`swnx{ja` m`k g`{gy{mj`ng`{ ems zg{ {a ig dwffz guxfaygk. [ews& owf{wymf s{wkjgs soeafmys egyg
fjtg j` {eg igs{ ad {jngs m`k rays{ ad {jngs. J{ js m xgyjak ad xyanjsj`b soeafmyfz s{wkjgs ms {eg
Xejfjxxj`gs rj{e j{s yjoe oafa`jmf xms{ m`k j{s xygsg`{ omxj{mfjs{ oa`swnx{jtg owf{wyg jnxygom{gk
iz ofmss kjddgyg`ogs& rjff ig m {eayawbefz dgy{jfg saojmf djgfk day owf{wymf j`}wjyz. A` {eg a{egy
em`k m `ggk {a sgfgo{ mxxyaxyjm{g ng{eakafabjgs rjff emtg {a ig msogy{mj`gk iz soeafmys& reg{egy
{egz rjff wsg g{e`abymxez& daows byawxs& sgnja{jo mxxyamoegs& ejs{ayjomf s{wkjgs ay rem{gtgy js
`gogssj{m{gk iz {eg s{wkz. Lae` Djscg& j` ejs guxfaym{ja`s ad {eg {gyymj` ad Iyj{jse owf{wymf s{wkjgs
m`k {eg om{gbayjgs {em{ xgytmkg j{ swoe ms ofmss& mkna`jsegk soeafmys {em{ {eg xassjijfj{z ad fjd{j`b
fgssa` fgmy`gk dyan ejs j`}wjyz iw{ {egz rjff emtg {a ig ygoa`djbwygk rj{e {eg `ggks ad sxgojdjo
m`k oa`lw`o{jtg dmo{ays kgnm`kgk iz swoe faomfj|m{ja`s. [ews eg sggs j{ kjddgyg`{fz jd {eg fabjomf
jnxfjom{ja`s ad ejs s{wkjgs j` {eg Iyj{jse sg{{j`b {mcg m kjddgyg`{ aw{raycj`b j` W._. %=:::< =;;*.
M sjnjfmy }wgs{ja` oawfk ig xasgk day {eg faomf sog`myja. J{ js ad oawysg m }wgs{ja` ad
reg{egy {eg xafj{jomf m`k goa`anjo oa`kj{ja`s {em{ nmkg oa`{yjiw{ja`s j` {eg Iyj{jse xmymkjbn
mfsa oa`{yjiw{g {a {eg Xejfjxxj`g sg{{j`b. Djscg ems ad oawysg mknj{{gk ad {eg ofmss oa`sojaws
saojg{z xyg m`k xas{ rmy Iyj{mj` js m`k {ejs ofmss oa`sojaws`gss semxgk {eg owf{wymf s{wkjgs
dymngrayc Ymzna`k Rjffjmns kjk day owf{wymf s{wkjgs ms m reafg %ay m{ fgms{ {eyawbe ejs
4
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
7/25
mssgssng`{ ad j{*. Bjtg` j{s dgwkmf m`k msxjyj`b omxj{mfjs{ goa`anz& {eg Xejfjxxj`gs js m nwf{jxfg
fmzgy ad saojg{jgs wyim`& ywymf& ng{yaxafg& oasnaxafj{m`. Kgsxj{g {egsg fmzgys& mbbygbm{g
sawyogs ad jkg`{jdjom{ja` xafj{jos& xas{oafa`jmf kjsoawysg& {goe`aoym{jo naijfj{z m`k bfaimfj|j`b
{g`kg`ojgs oa`{gs{ gmoe a{egy j` {eg oygm{ja` ad m oa`oyg{g kjsoawysg ad owf{wymf s{wkjgs. J{ js {eg
oasnaxafj{m` fmigf m`k j{s bfaimfj|j b nmycgy {em{ m{ m xgytmsjtg kgbygg emij{ nmlayj{z ad
Xejfjxxj`g saojg{z. [eg dgwkmf rmzs ad ygfm{j`b a`g mna`b a{egys s{jff batgy` oa`sgytm{jtg tmfwgs
m`k nakgs ad ygfm{ja`sejxs iw{ {eg axg``gss ad Xejfjxxj`g saojg{z {a {eg rayfk m`k j{s `guws ad
tmyjm { owf{wygs nmcg {eg Djfjxj`a s{wykz j` {eg dmog ad oa`dfjo{j`b ms rgff ms mddjynj`b
rayfktjgrs. [ejs ems igg` ygj`dayogk iz {eg xygnjwn xfmogk a` gkwom{ja` ms m ygkgnx{jtg {aaf
day j`kjtjkwmf m`k saojmf {ym`sdaynm{ja . [ews& {eg axg``gss {a s{ym`bg m`k `atgf rmzs ad
{ej`cj`b& fjtj`b m`k ygfm{j`b. [eg }wgs{ja` {em{ ems {a ig mxxg`kgk msjkg dyan {eg jsswg ad ofmss
naijfj{z js {eg jsswg ad rmzs ad ygfm{j`b. [ejs ad oawysg js`{ m Djfjxj`a guofwsjtg {ymj{ ad ygfm{ja`s
`ay m sjnxfg mknjssja` ad igj`b m xygtjaws oafa`jmf gu{g`sja` ad {eg Rgs{ %ms rgff ms iz {eg
Gms{& g.b. Lmxm`*. Regyg kags owf{wymf s{wkjgs oang j` {ejs oa`dwsj`b `guws ad swxgyxargys1
Ear seawfk owf{wymf s{wkjgs }wgs{ja`s ig s{m{gk sa {em{ sggcgys ad {yw{e nmz myyjtg m{ m
ngm`j`bdwf m`k fjigym{j`b m`srgy sxgojmffz a`g {em{ js m{{w`gk {a Djfjxj`a sg`sjijfj{jgs m`k rmzs
ad dggfj`b m`k {ej`cj`b1 Rejfg {ejs omffs day m bym`k owf{wymf xyalgo{ {em{ yg}wjygs ofgmy {ej`cj`b
m`k tafwnj`aws j`{gyoem`bg ad jkgms& {ejs xmxgy rjff m{{gnx{ {a m`srgy {egsg }wgs{ja`s rj{e {eg
jkgm ad m sxgojdjo saojmf djgfk ad j`}wjyz j` nj`k< g`{gy{mj`ng`{.
[eg djgfk ad j`}wjyz js m yjoe m`k kjtgysg sxmog. _m`j{z m`k ofmyj{z yg}wjyg {em{ m fjnj{ seawfk ig
jnxasgk a` {ejs iyamk mygm& {eg xygsg`{ ryj{gy rjff daows a` {gfgtjsja` ygogx{ja` m`k jkg`{j{z
2
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
8/25
mxxyaxyjm{ja` ad m` g`{gy{mj`ng`{ xyabymn %m ygmfj{z bmng sear!oanxg{j{ja` Mngyjom` Jkaf*.
Rj{e {ejs j` nj`k& sgtgymf }wgs{ja`s rjff emtg {a ig xasgk< Rem{ sjb`jdjom`og %jd j{ ems m`z* kags
Mngyjom` Jkafemtg day Djfjxj`a tjgrgys1 Rem{ nakgs ad sjb`jdjom`og ay oa`{gs{m{ja` mxxgmy m{
{eg tay{gu ad {ejs kjsoawysg1 Js Mngyjom` Jkafsjnxfz m bfaimfj|j`b {eygm{ ad Mngyjom` owf{wymf
jnxgyjmfjsn1 Ear kags {eg sear oa`{yjiw{g {a {eg Djfjxj`as xg`oem`{ day xgydaynm`og1 Rjff {eg
xwyswj{ ad m{{mj`ng`{ ad bygm{ Mngyjom` kygmn %ms swioa`sojawsfz sjb`jdjgk j` {eg Mngyjom` Jkaf
{gu{* rayc day Djfjxj`as1 Kags j{ xgyxg{wm{g m dmfsg sg`sg ad jkg`{j{z m`k oygm{g m swilgo{ xasj{ja`
{em{ js msznng{yjomf {a Djfjxj`a rmzs ad fjtj`b1 Rem{ {egayg{jomf xmymkjbns dj{ rgff {a mktm`og
{eg jkgm ad {gfgtjsja` ygogx{ja` m`k xgydaynm`og swilgo{ xasj{ja` dwsja`1
[egsg }wgs{ja`s myg ms oa`daw`kj`b ms {egz myg oa``go{gk {a a{egy msswnx{ja`s {em{ `ggk
{a ig w`oatgygk& iw{ day `ar day {eg smcg ad sjnxfjoj{z m`k j` {eg sxjyj{ ad oemyj{z& {eg daows `ar
js a` {eg m`srgyj`b ad {egsg }wgs{ja`s. Day m ig{{gy w`kgys{m`kj`b ad {eg xmymkjbns oam{gk j`
{egsg j`}wjyjgs& rg `ar {wy` {a {eg `gu{ sgo{ja` ad {ejs xmxgy day ejs{ayjomf swytgz m`k km{m
bm{egyj`b ad ygfgtm`{ oa`s{ywo{s ymjsgk j` {ejs xay{ja`.
[GOE@AFABZ& [GFGTJ_JA@ M@K XEJFJXXJ@G TGRGY_EJX
Ms `a{gk j` m xygtjaws sgo{ja` ad {ejs xmxgy& {eg wij}wj{aws `m{wyg ad {goe`afabz om``a{
ig jb`aygk. [eg oem`bgs m{ {eg igbj``j`b ad {eg `j`g{gg`{e og`{wyz kjk `a{ a`fz mddgo{ {eg nmlay
rayfk goa`anjgs iw{ {egjy oafa`jgs ms rgff %_m`{as& 988=3 Kwmym& 988=3 Omnxanm`gs& 988?*.
[eg oem`bgs {em{ {aac xfmog omng a` {eg dayn ad {goe`afabjomf mktm`ogng`{ {em{ mddgo{gk rmzs
5
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
9/25
ad fjtj`b& oemffg`bj b {ymkj{ja`mf tmfwgs& nakgy j|j`b mxxyamoegs {a ear {ej`bs myg ka`g j` fjdg
m`k {ym`sdaynj`b ms rgff awy sg`sg ad ygdfgujtj{z m`k ear rg ygfm{g {a awysgftgs& a{egys m`k {eg
g`tjya`ng`{ rg fjtg j`. [eg {gyn bfaimf tjffmbg jnngkjm{gfz igomng m ofjoe ms Djfjxj`as % m
sjb`jdjom`{ `wnigy jd `a{ {eg nmlayj{z* mna`b nm`z a{egy `m{ja`s rgfoangk {eg {jkgs ad
{ym`sdaynm{ja s dyan {eg guxm`sjtg jnnjbym{ja`s %kwg {a saojagoa`anjo ygmsa`s*& {goe`afabz
{ym`sdgys %mkax{ja`s ad {goe`afabjomf kgtjogs jXaks& KTKs& xfmsnm [T& sm{gffj{g omifg& J`{gy`g{&
g{o.* m`k nmssjtg ygs{ywo{wyj bs rj{e oa`{g`{ m`k ng{eakafabjomf s{ywo{wygs ad c`arfgkbg
%Dawomwf{& =:5?*. Wyim`j|gk Xejfjxxj`g saojg{z laj`gk {egjy oaw`{gyxmy{s j` Lmnmjom& [m`|m`jm&
Im`bfmkgse m`k Fwugniawyb j` eaacj`b wx rj{e {eg j`{gyoa``go{gk rayfk tjffmbg.
J` 9888 {eg oanxm`z MO @jgfsg` oa`kwo{gk m swytgz ad Djfjxj`a eawsgeafks. [eg ygswf{s
zjgfkgk {em{ 58' ad mff Djfjxj`a eangs ar`gk m {gfgtjsja` sg{& rj{e Ng{ya Nm`jfm ygoaykj`b {eg
oaw`{yz"s ejbegs{ [T ar`gysejx m{ :? xgy og`{. Mff a{egy mygms kyz wx m{ 58 '.M` j`oygmsg j`
omifg swisoyjx{ja` mfsa rms aisgytgk rj{e Kmbwxm`& Xm`bmsj`m` {axxj`b {eg swytgz m{ 72'.
Nm`jfm oangs `gu{ rj{e 98' omifg swisoyjx{ja`& Ogiw m{ 98' m`k Kmtma m{ =9'. [eg MO
@jgfsg` swytgz mfsa seargk m xm{{gy` j` {goe`afabz oa`swngy igemtjay ms Ng{ya Nm`jfm& emtj`b
{eg bygm{gs{ j`oang bg`gym{j`b dmnjfjgs ems {eg ejbegs{ ar`gysejx ad oafay [T sg{s& tjkga bmngs&
xgysa`mf oanxw{gys m`k fm`kfj`gs. Rj{e {ejs {yg`k j` nj`k& m`z ygsgmyoegy om` j`dgy {em{ {eg
Xejfjxxj`gs igj`b guxasgk {a m xeg`ang`mf oa`swngy m{{j{wkg rj{e ygbmyks {a {goe`afabz& rjff
kgdj`j{gfz ig mddgo{gk iz m ygoa`djbwym{ja` ad c`arfgkbg s{ywo{wygs& fjdgs{zfgs& tmfwgs m`k
wf{jnm{gfz owf{wymf xymo{jogs.
:
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
10/25
J{ js `a ra`kgy {em{ {goe`afabz m`k mff {eg oem`bgs j{ iyawbe{ emk m xyadaw`k oa`{yjiw{ja`
j` {eg ygoa`djbwym{ja` ad owf{wymf tmfwgs m`k xymo{jogs. Ms m {aaf {em{ nmz emtg igg` iay` aw{ ad
{eg c`arfgkbg s{ywo{wygs ad {eg Rgs{& j{ js `a`g{egfgss m `gw{ymf j`s{ywng { {em{ sgytgs tmyjaws
xwyxasgs< g {gy{mj`ng`{& gkwom{ja`& oannw`jom{ja`& nmycg{j`b& m`k ygsgmyoe. Rj{e tmyzj b
xwyxasgs {egygdayg& j{ igoangs m sj{g day oa`{gs{m{ja` ad tmfwgs& fjdgs{zfgs m`k ngm`j`bs. [ews
Ige` Ogytm`{gs& m` mo{jtjs{ m`k xfmzryjbe{kjygo{ay daw`k j{ kgxfaymifg {em{ m bmng sear iz j{s
searomsj`b ad m ranm` oyzj`b day egfx {a msswmbg egy dj`m`ojmf {yawifgs& j` {eg smjk ryj{gys
axj`ja`& xyana{j`b m owf{wyg ad ng`kjom`oz mna`b Djfjxj`a tjgrgys %Ogytm`{gs& 9884*.
[eg Xejfjxxj`gs xyjkgs j{sgfd ms m oa`sgytm{jtgfz {ymkj{ja`mf Oeyjs{jm` `m{ja` j` Msjm m`k
zg{ {ejs kags `a{ s{ax {eg {gfgtjsja` dyan iyamkoms{j`b sears {em{ xygsg`{ jd `a{ xygmoe m kjddgyg`{
fjdgs{zfg %rj{e mooanxm`zj`b saojmf m`k owf{wymf xymo{jogs*. [eawbe m ygbwfm{ayz iakz day
iyamkoms{ {gfgtjsja` gujs{s %N[YOI*& {eg mtgymbg Djfjxj`a tjgrgy js s{jff guxasgk m`k
kgnaoym{jomffz xyatjkgk moogss {a a{egy owf{wygs m`k fjdgs{zfgs ygj`dayoj`b jd `a{ xmfgfz jnj{m{j`b
m oasnaxafj{m` dyggkan day {eg {gfgtjsja` tjgrgy. _g`sj{jtg {a {eg tmfwgs ad ejs owf{wyg& {eg
Djfjxj`a tjgrgy `a`g{egfgss g`{gy{mj`s m`k rm{oegs sears& natjgs m`k iyamkoms{ {em{ nmz gj{egy
ig oa`sjkgygk addg`sjtg ay oa`{ymkjo{ayz {a ejs tmfwgs szs{gn. [eg iyamkoms{ xyakwo{ja` ems ad
oawysg fjigymfj|gk {eg rj`kar ad Djfjxj`a tjgrgysejx& mf{eawbe og`saysejx gujs{s m{ m xymbnm{jo
fgtgf& oa`sjkgyj`b tjgrgy sg`sj{jtj{z m`k m{{w`gng`{ {a Djfjxj`a tmfwgs. [ejs js {eg xmymkau
iyawbe{ miaw{ iz {eg {goe`afabjomf j`{ywsja` ad {gfgtjsja` {a {eg fjdg ad Djfjxj`as& mf{eawbe {eg
Djfjxj`a ems `gtgy ygmffz xmjk nwoe m{{g`{ja` {a {eg gujs{g`og ad oa`{ymkjo{ja`s j` ejs jkg`{j{z.
=8
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
11/25
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
12/25
=?2 {gfgtjsja` s{m{ja`s %48 myg ayjbj`m{j`b s{m{ja`s& 7; myg ygfmz s{m{ja`s m`k 9; myg wf{ymejbe
dyg}wg`oz s{m{ja`s*. [ejs js xyaad {a m ogy{mj` gu{g`{ {em{ {eg mkax{ja` ad m {gfgtjsja` owf{wyg kags
`a{ sear m`z ym{g ad sfarj`b kar`. Oa`sg}wg`{fz {ejs s{ygssgs {eg jkgm {em{ {gfgtjsja` xfmzs m
sjb`jdjom`{ yafg j` mwkjg`og ygogx{ja` m`k oa`swnx{ja`. Rj{e j{s sxgo{mofg g`{gy{mj`ng`{ &
oa`{gnxaymyz {gfgtjsja` guejij{s nayg ejbe {goe bfj{{gy& dms{gy m`k bfj{|jgy j` j{s gkj{j`b& rj{e
oanxw{gy sjnwfm{ja`s m`k guejij{j`b m dm`{ms{jo myymz ad tjgrj`b xfgmswyg % Cgff`gy& 9887< ?8
?=*.
_j`og j{s j`ogx{ja`& {gfgtjsja` xyabymnnj`b rms kanj`m{gk iz daygjb` sears m`k {eg
`ggk {a nmcg j{ {eayawbefz Djfjxj`a %jd gtgy {em{ rms moejgtmifg j` m fjdg{jng* rms`{ ygmfj|g j` j{s
gmyfz kgomkgs ad iyamkoms{j`b. %kgf Nw`ka& 988?< 7*. Eargtgy& {eg {gfgtjsja` ms m ngkjwn day
g`{gy{mj`ng`{& ms m {aaf day xfgmswyg oa`swnx{ja` kjk sgytg j{s xwyxasg m`k gtaftgk {eyawbe {eg
zgmys ms nayg s{m{ja`s %MI_OI@& BNM& YX@& MIO& X[T& JIO* gngybgk {a om{gy {a `grgy
tjgrj`b `ggks. Oanngyojmf {gfgtjsja` igomng m `gr xeg`ang`a` ms mktgy{jsj`b m`k j{s
nmycg{j`b s{ym{gbjgs {yjgk {a {mybg{ nayg oa`swngys m{ xyjng {jng.
[eg ygmfn m`k gu{g`{ ad guxfayj`b Xejfjxxj g g`{gy{mj`ng`{ {gfgtjsja` rawfk ig m
egyowfgm` {msc day {eg xygsg`{ xmxgy sa {eg `gogssj{z {a sejd{ {a {eg nmlay daows ad {ejs {egsjs js j`
aykgy. Ear ems g`{gy{mj`ng`{ [T mddgo{gk Djfjxj`a j`{gyxgffm{ja`s ad {egjy swilgo{ jkg`{j{jgs ms
oa`swngys m`k sxgojdjomffz ms msxjyj`b xgydayngys1 Rj{e {ejs j` nj`k j{ js ray{erejfg {em{ m iyjgd
kjbygssja` rawfk ig `ggkgk {a xyaxgyfz w`kgys{m`k {eg `a{ja` ad xgydayngyoa`swngy.
Ear emtg Djfjxj`as mxxyaxyjm{gk xfgmswyg dyan rm{oej`b {gfgtjsja`1 A`g om` smz {em{ j`
{eg djd{jgs& {eg tgyz `a{ja` ad {gfgtjsja` ms m {aaf day mnwsgng`{ om``a{ ig sjkgs{gxxgk. Tjgrgys
=9
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
13/25
{eg` rm{oegk Mngyjom` sears fjcg J Fatg Fwoz& Om`kjk Omngym& Ejbermz Xm{yaf g{o. %kgf
Nw`ka& 988?< 4*.[egsg xyabymns rgyg {eg s{mxfg ad Mngyjom` owf{wyg& searj`b jnmbgs m`k
ngm`j`bs ad oa {gnxaymyz Mngyjom` saojmf fjdg. Ms baak ms m oa`swngy js& {eg Djfjxj as
mxxyaxyjm{gk {egsg sears ms {egjy ar`& j`bgs{j`b {eg om{gbayj|m{ja`s j` rejoe {egsg xyabymns
axgym{gk& daffarj`b {egjy dfwjkj{z& {egjy bg`kgygk s{gyga{zxgs m`k oaw`{gys{gyga{zxgs& {egjy
axg``gss {a xyafjdgym{g ngm`j`bs m`k {egjy msswnx{ja`s miaw{ saojmf ygfm{ja`s m`k kg{gynj`m`{s.
G`{gy{mj`ng`{ daffargk {ejs oawysg ad mxxygojm{ja`.
Regyg kags {eg }wgs{ja` ad xfgmswyg ms m bamf j` rm{oej`b {gfgtjsja` oang j`1 J{ nmz
emtg `a{ igg` gtjkg`{ iw{ {eg dmo{ {em{ Djfjxj`as j` {easg zgmys rm{oegk m`k xm{ya`j|gk {ejs `gr
{goe`afabz& {em{ j` j{ sgfd js m` j`kjom{ja` ad m ig{ymzmf ad tjgrj`b xfgmswyg m{ owf{wygs `a{ g`{jygfz
{egjy ar . Rj{e {eg xygsg`og m`k j`dfwg`og ad Mngyjom` tmfwgs m`k {ymkj{ja`s& Djfjxj`as
{ym`sdayngk {egsg dayns ad om{gbayjgs {a swj{ {egjy ar`. J` {eg zgmys {em{ daffargk& nayg [T
xyabymns gngybgk. [ejs {jng j{ dgm{wygk faomf mo{ays m`k mo{ygssgs. [eg xyabymns m`k {egjy
oa`{g {s searomsgk Djfjxj`a dmnjfz s{ywbbfgs& samx axgyms& bmng sears %W`mem` sm Cmnxm`m
m`k Cwmf{m @m*& tmyjg{z sears %Xjs{m `b Omf{gu* sj`bj b oanxg{j{ja s %[mrmb `b [m`bemfm`*
`grs iyamkoms{ %[anayyars @grs Mjygk [a`jbe{* m`k gtg` oangkjgs. _farfz `aa` {jng sears
m`k xyjng {jng iyamkoms{ mssjnjfm{gk faomf fjdgs{zfg rj{e m s{ya`b {j`{ ad Mngyjom` j`dfwg`og j`
ia{e fm`bwmbg m`k xyabymnnj`b s{ywo{wyg.
[gfgtjsja` ms j{ gtaftgk {eyawbe {eg zgmys om{gygk {a {eg Djfjxj a xyaxg`sj{z day
g`{gy{mj`ng`{ m`k rj{e {ejs oymtj`b day g`{gy{mj ng`{& {gfgtjsja` rm{oegys mo}wjygk swilgo{
xasj{ja`s ad oa`swngy m`k xgydayngy. [eg dayngy js m` axm}wg om{gbayz j`kwfbg`{fz tjsjifg m`k
=?
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
14/25
gngybg`{ m{ {eg tgyz j`ogx{ja` ad {gfgtjsja` owf{wyg j` {eg oaw`{yz& rejfg {eg fm{{gy js m ygog`{
kgtgfaxng`{ daybgk aw{ ad {eg ygxg{j{jtg xymo{jog xmy{fz dgk iz [ejyk Rayfk sg`sjijfj{jgs m`k
xmy{fz xwsegk iz xszoeafabjomf na{jtgs m`k iay` j` {eg oa`tgysm{ja`s ad omxj{mfjs{ jnxwfsg {a ig
c`ar` j` m ofmss ad mxxmyg`{fz bg`gyjo w`j{s ad j`kjtjkwmfs. [a m{{yjiw{g j{ {a m` mxxyaxyjm{ja` ad
{eg Bygm{ Mngyjom` Kygmn js m sjnxfjs{jo {eawbe `a{ m` gyya`gaws j`dgyg`og. _j`og {egjy nakg ad
c`arfgkbg ems igg` xmy{fz j`{gyxgffm{gk iz {eg oafa`j|gyoafa`j|gk ij`myj{z& Djfjxj`as sgg {ejs ms
m ygdfgo{ja` ad {egjy igj b m swilwbm{gk `m{ja & m oaffgo{jtg jkg`{j{z mo}wjygk m`k mo{jtgfz
misayigk ms j`gtj{mifg oa`sg}wg`ogs ad {egjy swilgo{ xasj{ja`s& ywfj`b {egjy kjsoawysgs ms m
oa`}wgygk ymog m`k m kaojfg owf{wyg. [ews& {eg `a{ja` ad jkg`{j{z j`sgy{s j{sgfd j` {eg kjsoawysg ad
{eg xgydaynm{jtg swilgo{ xasj{ja` igj`b kjsowssgk. [eg `a{ja` ad jkg`{j{z ms m ygfm{gk oa`s{ywo{ j`
{eg gfwojkm{ja` ad {eg xgydaynm{jtg yafg ad {eg Djfjxj`as om``a{ ig atgysjnxfjdjgk. J{ ems j{s
xejfasaxejomf yaa{s m`k ymnjdjom{ja`s {em{ om``a{ ig dwffz guxfaygk j` {ejs gssmz mf{eawbe m fa{ ad
guogffg`{ a`gs emtg igg` ryj{{g` j` {eg mygm. Rem{ om` ig gfmiaym{gk miaw{ j{ m`k j{s ygfm{ja` {a
xgydaynm{jtg mxxyaxyjm{ja` js {em{ j{ js iay` aw{ ad {eg kz`mnjos {em{ oa`{yjiw{gk {a m `m{ja`mf
oaffgo{jtg ad rayfkofmss xgydayngys& a`g rejoe ems igg` ofmjngk m`k swis{m`{jm{gk iz Djfjxj`a
guogffg`og j` {eg my{s m`k ewnm`j{jgs& sxgojdjomffz j` nwsjo m`k sj`bj`b.
Rejfg {ejs `a{ja` ad jkg`{j{z ems xejfasaxejomf w`kgyxj``j`bs m`k zg{ mfsa j`dayngk iz
xas{oafa`jmf fgm`j`bs& {eg jkgm ad Djfjxj`a jkg`{j{z tjm ngkjm js m` mfnas{ mnayxeaws kjsowssja`
ad oanxfgu m`k iaw`kfgss {gyyj{ayjmfj{jgs. Dgy`m`ka @mcxjf \jmfoj{m ems aw{fj`gk j` ejs iaac
Mw{eg`{jo Mf{eawbe @a{ Gua{jo < Gssmzs a` Djfjxj`a Jkg`{j{z kanmj`s ad guxfayj`b {eg `a{ja`s ad
Djfjxj`a jkg`{j{z& {eg sfwy a` {eg mxxmyg`{ na`bygf`m{wyg ad Djfjxj`a jkg`{j{z& {eg oa`{awys ad {em{
=;
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
15/25
jkg`{j{z ms ejs{ayjomffz oa`kj{ja`gk iz j{s oafa`jmf xms{& {eg mxxmyg`{ misg`og ad {eg w`j}wg`gss
m`k j`kjbg`aws {ymj{ ad m sa omffgk Djfjxj`a my{s& m`k m fjs{ ad a{egy oa`ogy`s guogffg`{fz oatgygk j`
ejs iaac. J` dmo{ \jmfoj{m bjtgs {eg ygmkgys {eg xasj{jtg m`k s{ya`b daw`km{ja`s day jkg`{jdzj`b
Djfjxj`a nmycgys ad jkg`{j{z. Ms ygbmyks awy xygsg`{ xyalgo{ a` {eg xgydaynm{jtg yafg m`k xassjifg
jnxfjgk ygj`dayogng`{ xyatjkgk iz ngkjm {gfgtjsja` a` {ejs Djfjxj`a xyaxg`sj{z %{em{ js {eg `ggk
{a msxjyg {a m kygmn yafg& m sj bj`b omyggy ay ogfgiyj{z xgydaynm`og s{m{ws {eyawbe {eg
sxgo{m{aysejx ad xwifjo mwkjg`og*& rg emtg {a faac {a a{egy sawyogs day {egayg{jomf m`k xymo{jomf
w`kgys{m`kj`b.
M kjygo{ m`srgy j` {ymoj`b {eg bg`gsjs ad {ejs xgydaynm{jtg yafg js iz faacj`b imoc {a {eg
oa`{g`{ m`k {egngs ad Xejfjxxj`g {gfgtjsja` m`k {eg owf{wymf imocbyaw`k ad Djfjxj`as. [egyg rms m
ng`{ja` ad[mrmb `b [m`bemfm` ms xygowysays {a m sj`bj`b oa`{gs{. J` {eg gjbe{jgs {egyg rmsM`b
Imba`b Cmnxga` eas{gk iz oangkjm` Igy{ Nmyogfa m`k Msjms ]wgg` ad _a`b Ns. Xjfj{m
Oayymfgs. _ang ad {eg dmnaws addseaa{s ad {ejs oa`{gu{ j`ofwkg xaxwfmy sj`bj`b my{js{ Ygbj`g
Tgfms}wg| m`k Ka``m Oyw|. J` {ejs kgomkg mfa`g& sgtgymf ygmfj{z [T xyabymns searomsj`b
nwsjomf {mfg`{ emtg sxyaw{gk. [a `mng m dgr& {egyg jsXj`az Xax _wxgys{my%BNM 2 eas{gk iz
Ygbj`g Tgfm}wg|& kwiigk ms Msjms _a`bijyk*& Xj`az Kygmn Momkgnz& _{my j` m Njffja` %MI_
OI@* rejoe sxmr`gk nm`z zaw`b {mfg`{s j`ofwkj`b _myme Bgya`jna& Oeyjs{jm` Imw{js{m& Gyjo
_m`{as m`k _egyz` Ygzgs. [egyg myg gtg` ogfgiyj{z sgmyoe {mfg`{ sears day {eg zaw`b fjcg MI_
OI@s _{my Ojyofg ]wgs{m`k BNM 2s _{my _{ywoc. Ygog`{fz& m dym`oejsg rms nmkg iz MIO 7 {a
yg`kgy m faomf tgysja` adMngyjom` Jkafrejoe rms fabjomffz `mngk Xejfjxxj`g Jkafrj{e Nmw
Nmyogfa ms {eg djys{ Xejfjxxj`g Jkaf.
=7
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
16/25
Reg`gtgy a`g {wy` j`{a {eg owf{wymf kjtgysj{z ad xgaxfg byawxs j` {eg oaw`{yz& a`g om``a{
jb`ayg {eg yjoe`gss ad {egjy nwsjomf owf{wyg. Dyan {eg Jdwbmas ad {eg `ay{e {a {eg Nmym`mas ad {eg
saw{e& nwsjo m`k j{s guxygssja` ms m` gu{g`sja` ad m xmy{jowfmy g{e`jo byawxs w`j}wg jkg`{j{z
sxgmcs ad tmyjaws msxgo{s ad {egjy fjtgs dyan nmyyjmbg& ijy{e& kgm{e& yj{wmf& rmy& oanxg{j{ja` m`k
{eg fjcg& saw`ks m`k yez{ens oakjdz {eg owf{wymf xymo{jog ad {egsg xgaxfg byawxs. [eg wyim`j|gk
og`{gys ad {eg oaw`{yz ms rgff guwkg yjoe`gss ad nwsjomf sg`sj{jtj{z %jd {egz nmzig sjnxfz ig sgg`
ms owf{wymf mkmx{m{ja`s dyan a{egy fm`ks ygbbmg& ejxeax& tmyjaws bg`ygs ad yaoc m`k
oa`{gnxaymyz nwsjo* m`k guxygssja`. [ews j{ js m` j`kgfjifg m{{yjiw{g ad Xejfjxxj`g owf{wygs {a
emtg nwsjomf ms rgff ms xgydaynm{jtg gfgng`{s.
M xfmwsjifg fj`c nmz `ar ig gs{mifjsegk rj{e ear Djfjxj`a owf{wymf sg`sj{jtj{z ms m reafg
js m{{w`gk {a ejs `a{ja` ad jkg`{j{z. Rj{e {eg {gfgtjsja` ms m xargydwf Rgs{gy` %zg{ Ayjg`{mfj|gk*
{aaf day gnxargyng`{ m`k {eg ygj`dayogng`{ ad {ejs jkgmf& {eg {gu{ om` `ar ig natgk j`{a {eg
kjsowssja` ad {eg yafg ad {eg ngkjwn j{sgfd %j` {ejs omsg {eg {gfgtjsja` xyabymnMngyjom` Jkaf*.
MNGYJOM@ JKAF< OATGY[ MNGYJOM@ JNXGYJMFJ_N AY GNM@OJXM[AYZ
_GFD.KGOFMYM[JA@1
Mngyjom` Jkafjs m zgmyfz Mngyjom` {gfgtjsgk sj`bj`b oanxg{j{ja` bgmygk {armyks
kjsoatgyj b zaw`b sj`bj`b {mfg`{s {eyawbe m sgyjgs ad `m{ja`mf mwkj{ja`s. Xmy{ ad {eg Jkaf
Dym`oejsg& j{ ayjbj`m{gk dyan {eg WC ygmfj{z xyabymn Xax Jkaf. _gtgymf oaw`{yjgs myaw`k {eg
rayfk iawbe{ dym`oejsg dyan Iym|jf {a Kg`nmyc. J{s semyg j` mwkjg`og tjgrgysejx ofjnigk {eg
oemy{s sj`og j{s sgmsa`mf j`ogx{ja` j` 9889. _j`og {eg fms{ sgmsa` %7* MJems {axxgk {eg {gfgtjsja`
oemy{s j` {eg W_ m`k j` sgtgymf oaw`{yjgs myaw`k {eg rayfk. J` {eg Xejfjxxj`gs& j{s fjtg dggk bmtg
=4
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
17/25
MIO 7 %{eg faomf [T `g{rayc rea ba{ j{s dym`oejsg ad iyamkoms{j`b {eg xyabymn* j{s `ggkgk
iaas{ j` {eg tjgrgysejx ym{gs mfa`b rj{e bjm`{s MI_OI@ 9 m`k BNM 2.
[eg xygkjo{mifg moowsm{ja` {em{ om` ig ewyfgk m{ Mngyjom` Jkafjs {em{ j{s js `a{ej`b iw{ m
oatgy{ {aaf ad Mngyjom` owf{wymf jnxgyjmfjsn nmkg {a swilwbm{g xgaxfgs xymo{jogs m`k igfjgd
szs{gns j`{a {eg Mngyjom` nafk. [ejs sjnxfjs{jo s{m{gng`{ w`kgynj`gs {eg dmo{ {em{ {gfgtjsja`
ygogx{ja` js `a{ m xmssjtg j`bgs{j`b ad jnmbgs m`k saw`ks. J` m` gssmz omffgkG`oakj`b!Kgoakj`b&
owf{wymf s{wkjgs soeafmy _{wmy{ Emff %=:2?* mybwgs {em{ {eg nang`{s ad xyakwo{ja` %g`oakj`b* m`k
oa`swnx{ja` %kgoakj`b* myg `a{ ms sjnxfg ms {egz mxxgmy. [eg s{ywo{wygs ad {gfgtjsja` xyakwo{ja`&
{eg xyabymnnj`b xm{{gy`s m`k emij{s myg jd `a{ sznng{yjomf myg kjddgyg`{ dyan {eg rmz mwkjg`ogs
ygmk m`k oa`swng {egn. [egz myg kg{gynj`m{g nang`{s rejoe om` ig ygmk {eyawbe {eygg
xassjifg xasj{ja`mfj{jgs % kanj`m`{& `gba{jm{gk m`k axxasj{ja`mf*. J` m xas{oafa`jmf sg{ wx& j{ js
j`gtj{mifg {em{ Djfjxj`a tjgrgys om``a{ gsomxg {egjy oafa`jmf xms{ m`k j{s gddgo{s a` {egn& iw{ {egz
om` oeaasg {a bymsx {eg rayfks c`arfgkbg s{ywo{wygs %m`k j` {ejs omsg {gfgtjsja` xyabymnnj`b
adMngyjom` Jkaf* m`k sgg j{ j` m kjddgyg`{ fjbe{. J` a{egy rayks& tjgrgys om` oeaasg {a mkax{&
{ym`sdayn ay switgy{ ngssmbgs jniwgk j` {eg {gfgtjsja` kjsoawysg adMngyjom` Jkaf. Rejfg
Djfjxj`a tjgrgys nmz daffar {eg [T sgyjgs rj{e owf{jo kgta{ja`& j{ js }wj{g m srggxj`b
bg`gymfj|m{ja` {em{ gtgyz tjgrgy ad {eg xyabymn rawfk rm`{ {a ka` {eg dmseja` ad Xmwfm Mikwf ay
mkax{ {eg scgx{jojsn ad _jna` Oargff. Rejfg {em{ nmz mfsa ig m xassjijfj{z %m`k {egyg myg xgaxfg
rea oa`dgss {egz fatg _jna` m`k Xmwfm* {em{ {em{ om` emxxg`& xgaxfg oeaasj`b m fjdgs{zfg ay m`
m{{j{wkg om``a{ ig g`{jygfz ig {eawbe{ ad ms bg{{j`b j{ dyan rem{ {egz smr a` [T.
=2
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
18/25
Rj{e mff j{s xm{ya`mbg day oanngyojmf m`k nmycg{j`b s{ywo{wygs&Mngyjom` Jkafjs `a{ej`b
iw{ m {gu{ {em{ ems {a ig ygmk fjcg m`z a{egy [T {gu{. Fjcg m`z a{egy oanngyojmf {gfgtjsja`
xyabymn& j{ js `a{ej`b iw{ m szs{gn ad sjb`jdjom{ja` dayngk aw{ ad {eg xyakwo{ja`s s{wkjas ad m
omxj{mfjs{ saojg{z. [eg mo{ ad ygmkj`b {ejs {gu{ rjff ad oawysg ms Emff swbbgs{gk ig wx {a {eg
xygdgyygk ngm`j`bs oa`s{ywo{gk iz {eg tjgrgys. [eg ngoem`jsn ad ear {easg xygdgyygk ngm`j`bs
rgyg myyjtgk m{ rjff kgxg`k a` {eg tjgrgys tmfwg szs{gn m`k emij{s. [eg` mbmj`& rg ba imoc {a
{eg `m{wyg ad owf{wymf s{wkjgs ms m kgoafa`j|gk mxxyamoe j` {eg Xejfjxxj`g sg{{j`b. M{ {eg guxg`sg
ad m njffja`kaffmy bg`gym{j`b xyabymn& Mngyjom` Jkafjs ad oawysg m omxj{mfjs{& oa`swngy
og`{gygk m`k sgfdygmfj|m{ja` s{gx {gu{ ad Mngyjom` j`kjtjkwmfjs{ xejfasaxez& a`g {em{ js igj`b
sfarfz mooannakm{gk {a iz Djfjxj`a oa`{gnxaymyz saojg{z.
MNGYJOM@ JKAF M_ M [GU[WMF @MYYM[JTG& J[_ DJFJXJ@A MXXYAXYJM[JA@_
M@K A[EGY [EJ@B_
Ms m djgfk ad saojmf j`}wjyz& Mngyjom` Jkafjs m xyadwsgfz yjoe {gu{ day owf{wymf m`mfzsjs&
a`g {em{ js fmzgygk rj{e sgtgymf fmzgys ad owf{wymf ngm`j`b. [eg `myym{jtg adMngyjom` Jkafms m
kjsoawysg {ym`sdayngk day {gfgtjsja` iyamkoms{ om` ig {ym`sfm{gk ms m oannakjdjgk `myym{jtg dwff
ad {ejoc sjb`jdjom{ja`s& jnmbgs m`k ngm`j`bs. Oa`sjkgy {eg s{ywo{wyg ad {eg xyabymn xygsg`{m{ja`.
J` fjgw rj{e ygmfj{z bmng sears& dgm{wyj`b seaa{s m`k jnmbgs ms {egz emxxg` igdayg& kwyj b m`k
md{gy {eg mwkj{ja`s& ad{g` |aanj`b j` a` dmojmf ygmo{ja`s ad laz %day igj b moogx{gk j` {eg
mwkj{ja`*& kjsmxxaj`{ng`{ %day igj`b yglgo{gk* m`k aoomsja`mffz ad ewnay %dgm{wyj`b dw``z m`{jos
iz msxjym`{s rea {ymbjomffz ka `a{ xassgss {eg {mfg`{ zg{ igfjgtg {egz emtg rem{ j{ {mcgs {a ig {eg
=5
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
19/25
`gu{ Mngyjom` Jkaf*. Rj{e {ejs ygxygsg`{m{ja` ad [T xyabymnnj`b ms sang{ej`b omswmf ay fjdg
fjcg& {eg xafj{jomf w`kgyowyyg`{ js {a {ym`sfm{g m tmfwg szs{gn {em{ guxaw`ks {eg rayc g{ejo ad {eg
Mngyjom` njkkfg ofmss& m s{ayz ad {yjwnxe {eyawbe mktgysj{z ms s{ygssgk iz {eg {gu{wmf sea{s a`
{eg gu{ygng laz ad igj`b kymd{gk m`k iaw`k day Eaffzraak. [eg swooggkj`b gxjsakgs daows a`
dwy{egy xgydaynm`ogs igdayg {eg lwkbgs %_jna` Oargff& Xmwfm Mikwf m`k Ym`kz Lmocsa`* ms {egz
mfsa ygogjtg oanng`{s dyan {eg lwkbgs ms ygbmyks {egjy xgydaynm`og. Wswmffz {eg lwkbgs myg
dym`c m`k g`oawymbj`b guogx{ day _jna` Oargff rea js mnwsj`bfz omws{jo. [eg kymnm ad ygmf fjdg
xyaoggks ms {eg `wnigy ad oa`{gs{m`{s js ygkwogk m`k ms {eg {ej``j`b xyaoggks {a {eg Dj`mf
[rgftg. J` {eg rmz {eg xyabymnnj`b js daffargk& {eg m{{gnx{ js {a nmcg mwkjg`ogs dggf {eg
j`{g`sj{z ad ygmf fjdg kymnm. J{ js m` jffwsja` m`k m{ {eg smng {jng m xyalgo{ja` ad tjgrgys rjse day
{eg Mngyjom` Kygmn. J` {eg xyabymn {gu{wyg& tjgrgys dggf m sg`sg ad jkg`{jdjom{ja` rj{e {eg
oa`{gs{m`{s ms m ta{j`b szs{gn js mfsa gnxfazgk. [eg ng{eak ad ta{j`b js wsgk {a egjbe{g`
mwkjg`og jkg`{jdjom{ja` rj{e {eg oemymo{gys j` {eg xyabymn m`k sws{mj` {eg jffwsja` ad xm{ya`mbg.
[eg oa`ogx{ ad xm{ya`mbg m`k ta{j`b day m sxgojdjo oa`{gs{m`{ ms a`gs ar` js sjnjfmy {a {eg
Dygwkjm` oa`ogx{ ad kjsxfmogng`{& regyg xszoejo g`gybz js om{ego{gk %w`oa`sojawsfz j`dwsgk {a
m`a{egy* {eawbe j` {ejs omsg {eg guxygssgk mddgo{ js a`g ad fatg m oa`tgy{gk dayn ad sgfd fatg. J`
a{egy rayks& {eg ta{j`b szs{gn rms j` xfmog day {eg mwkjg`og `a{ a`fz {a xmy{jojxm{g j` m
oanngyojmfj|gk m`k bfmnayj|gk yg{gffj`b ad m xyalgo{gk fjdg `myym{jtg {egz {egnsgftgs rjse {a
fjtg. J{ js m dayn ad sgfdfatg igomwsg iz ta{j`b day a`gs ig{ %{eg xygdgyygk oa`{gs{m`{* a`g
mddjyns m szs{gn ad tmfwgs& emij{s m`k xygdgyg`ogs {em{ m{ sang swioa`sojaws fgtgf ygdfgo{s a`gs
ar`.
=:
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
20/25
[eg sgmsa` m`k {eg gxjsakgs ad {eg sear owfnj`m{g j` {eg bym`k dj`mfs ms {eg ezxg m`k
ofjnmu ad {eg g`{jyg sgmsa` oangs kar` {a kg{gynj`j`b {eg wf{jnm{g Mngyjom` Jkaf. [eg ym{j`bs
sczyaocg{ m`k nayg mktgy{jsj`b oanxm`jgs tjg day {eg {jbe{ sxa{ ad xyjng{jng. [eg jkgm ad {eg
wf{jnm{g jkaf ia{{ans kar` {a {eg wf{jnm{g nmycg{mifg m`k oannakjdjgk xgydayngy!sj`bgy& m`
mxa{egasj|gk gniakjng`{ ad {eg Mngyjom` Kygmn rj{e mff {eg s{ywbbfgs ewykfgk& {mfg`{s ygdj gk
m`k nmkg {a ygmoe `gmy xgydgo{ja` m`k {eg ailgo{ ad {eg `m{ja`s mknjym{ja`.
[eg `myym{jtg ad swoogss& ad kygmn oang {ywg js ad oawysg m xafj{joj|gk tgysja` ad {eg
s{ywbbfg m`k swoogss ad {eg xyafg{myjm{& {eawbe j` {ejs omsg {eg xyafg{myjm{ js {ym`sdayngk j`{a
m`a{egy iawybgasjg. [eg `myym{jtg ad {eg s{ywbbfg js mfsa m Egbgfjm` kjmfgo{jo oanngyojmfj|gk m`k
nmycg{gk day {eg njkkfg ofmss mjkgk iz {eg bfaimfj|j`b ng{m`myym{jtg ad swoogss m`k
mooanxfjseng`{& ad dj`kj b a`gs `joeg w`kgy {eg sw`& ad nmcj`b j{ ijb. Mff ad {egsg myg ad
oawysg {eg yeg{ayjo ad gnxargyng`{ m`k m {aaf day ygkgnx{jtgfz mxxyaxyjm{j`b {eg `myym{jtg ad
{eg axxygssgk w`kgy {eg ywfgs ad m oa`swngyjs{ ejgymyoez ad xszoeafabjomf `ggks rj{e {eg xgmc ms
{eg sgm{ ad bym`k swoogss. [eg swoogssdwf Mngyjom` Jkaf js `ar m ogfgiyj{z& m xgysa`mfj{z
oanxmymifg {a {eg gfj{g ad Eaffzraak. [eg fm`bwmbg ad goa`anjo m`k oanngyojmf swoogss `ar
mo}wjygk iz {eg `gr Mngyjom` Jkaf js m fm`bwmbg {em{ `gtgy ogmsg {a dj`k m` g`kj`b3 j{ js m s{ayz
{em{ js igj`b yg{afk atgy m`k atgy mbmj` m`k fjtgk atgy m`k atgy mbmj` iz j{s tjgrgys.
[a smz {em{ {eg Djfjxj`a mwkjg`ogsejx mxxyaxyjm{gs {ejs sjnjfmy `myym{jtg js ad oawysg gmsjgy
iw{ {a kg`z j{s xassjijfj{z js `mtg. Dyan {eg xas{oafa`jmf guxgyjg`og m`k {eg xygsg`{ oyjsjs day
goa`anjo m`k xafj{jomf s{mijfj{z sa `ggkgk j` {eg oayyjkays ad xargy& {eg `m{wyg ad mwkjg`og
ygogx{ja` ad {ejs {gu{wmf `myym{jtg js kgxg`kg`{ a` ogy{mj` tmyjmifgs.
98
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
21/25
Ear kags {eg Djfjxj`a mwkjg`og mooannakm{g m`k oa`s{ywo{ ngm`j`b aw{ ad {eg {ejoc
`myym{jtg ad m swoogss s{ayz1 Ear myg ngm`j`bs `gba{jm{gk iz tjgrgys1 JsMngyjom` Jkafsjnxfz
m` myn ad m omxj{mfjs{jo dymngrayc ad xejfasaxez1
Ms ng {ja`gk gmyfjgy rj{e ygdgyg`og {a _{wmy{ Emffs G`oakj b!Kgoakj`b nakgf ad
oannw`jom{ja`& {eg `gba{jm{ja` ad ngm`j`b js `a{ ms sjnxfg ms j{ js s{m{gk. [eg oa`djbwym{ja`s
m`k ygoa`s{ywo{ja`s ad {eg sjb`jdjom{ja`s ad ngm`j`b& jnmbgs m`k oemymo{gys j`Mngyjom` Jkafmyg
swilgo{ {a {eg xasj{ja`mf oakgs mkax{gk iz j{s tjgrgys. [a smz {em{ {eg xyabymn js sjnxfz m tgjfgk
m{{gnx{ {a oa`tgy{ {eg rayfk {a j{s goa`anjo xejfasaxez ad nmss oa`swngyjsn& m`k wf{ym
omxj{mfjs{ xm{ya`mbg js njskjygo{gk m`k rya`begmkgk. J{ nmz ig xyaimifg {a smz {em{ m Djfjxj`a
mxxyaxyjm{ja` ad {eg [T xyabymn ms m swoogss s{ayz nmzig a`g ad {eg nm`z xassjifg ygmkj`bs
yg`kgygk iz Djfjxj`a tjgrgys. [eg mxxgmf ad {eg oa`{g`{ ad {eg xyabymn js ad oawysg m kjsoawysg
`a{ daygjb` {a Djfjxj`a sg`sjijfj{jgs& ms {eg `ggk {a xyatg a`gsgfd m`k {a msogy{mj` a`gs omyggy
oeajogs imsgk a` xgydaynm{jtg swilgo{ xasj{ja`s nmz `a{ ig g`{jygfz swxgydjojmf ay w`ygmsa`mifg.
M{ m xay{ja` ad {ejs gssmz {eg `a{ja` ad xgydaynm{jtg yafg ms m xassjifg ngm`j b
`gba{jm{gk iz rm{oegys ad Djfjxj`a tjgrgys m`k ms m xassjifg %imsgk a` Dygwkjm` {egayz*
gu{g`sja` ad a`gs ar` fjdg s{ayz& rms guxfaj{gk. [ejs rms ka`g sa j` {eg eaxg {em{ {eg ygmkgy
nmz dj`k {eg xassjijfj{z m`k oa``go{ja` {em{ rms jnxfjgk. Rj{e {eg xaxwfmyj{z adMngyjom` Jkaf
mna`b {gg`mbgys& zaw`b xyadgssja`mfs& sear ij| ayjg`{gk j`kjtjkwmfs m`k xm{ya`s ad Eaffzraak
g`{gy{mj`ng`{ mna`b awy njks{& j{s oeajog ms m tgejofg ad oymss oanngyojmfjsn js`{ {em{ swsxgo{
mfsa. A` {eg a{egy em`k&Mngyjom` Jkafms m xaxwfmy {gu{ js {aa oanxfgu {a ig sjnxfz egmxgk j` m
{ymse om` ad {egayg{jomf `gbfgo{. Djfjxj as rea rm{oe Mngyjom` Jkafdyan rem{gtgy saoja
9=
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
22/25
goa`anjo s{ym{m& mbg byawx& g{e`jo ayjbj`& wyim` ay ywymf faomfj{z& ygfjbjaws xgyswmsja` g{o. rjff
dj`k m `myym{jtg yjoe rj{e tmfwgs {em{ ygdfgo{ Djfjxj a sg`sjijfj{z < emykrayc& kjsojxfj`g&
xgysjs{g`og& oaffmiaym{jtg rayc& ygdj`gng`{ ad {mfg`{ m`k kjfjbg`og. [egsg myg {eg `gba{jm{gk
ngm`j`bs sgfgo{gk m`k ygoa`djbwygk iz Djfjxj a rm{oegys& swygfz dmy dyan {eg s{gyga{zxjomf
oawoe xa{m{a ad Mngyjom` owf{wyg m`k dmy add dyan {eg bfassz gzgk kygmngy ad xaxwfmy dafcfayg
%Lwm` [mnmk*. Rj{e {eg xyafjdgym{ja` ad faomf tgysja`s adMngyjom` Jkaf fjcg Xejfjxxj`g Jkaf&
Xj`az Xax _wxgys{mym`k _gmyoe day m _{my j` m Njffja`& {eg `myym{jtg js `gba{jm{gk j` {eg oa`{gu{
ad {eg emyksejxs ad xygsg { goa`anz m`k {ews nmcgs tjgrgys `a{ a`fz w{jfj|g {eg gsomxjs{
g`{gy{mj`ng`{ guxaw`kgk iz Yjoemyk Kzgy j` ejs gssmz G`{gy{mj`ng`{ m`k W{axjm iw{ mfsa
gnxargy ejnsgfd rj{e {eg jffwsja`s oygm{gk iz {eg xyabymn. [eg `gba{jm{ja` m`k yg`gba{jm{ja`
day ngm`j`b kags `a{ s{ax ms tjgrgy xygdgyg`og m`k ngm`j`b oa`djbwym{ja` kags `a{ s{ax mfsa.
Rj{e {eg Djfjxj`as xg`oem`{ day nwsjo m`k my{js{jo owf{wyg& {eg swilgo{ xasj{ja` ad {eg Djfjxj`a ms
m xgydayngy igoangs m` mxxmyg`{ j`{gyxyg{jtg yafg mssjb`gk {eyawbe {eg {gu{ ad {eg xyabymn ay m
fabjomffz kgkwogk j`{gyxyg{m{ja` iz tjgrgys ms j`dayngk iz xygsg`{ gujs{j`b oa`kj{ja`s. [eg
xyalgo{ ad kgoafa`j|m{ja` j` owf{wymf s{wkjgs fjgs `ar m{ {eg omxmoj{z ad {eg [T tjgrgy {a nmcg
j`kgxg`kg`{ oeajogs day ngm`j`b oa`s{ywo{ja`& yafg kgdj`j{ja` m`k swilgo{ j`{gyxgffm{ja`. [eg
w`kgys{m`kj`b ad {eg xyabymn Mngyjom` Jkafkags `a{ g`k j` j{s Mngyjom` ay gtg` Gwyaxgm`
tjgrgysejx3 j{ oygm{gs {eg xassjijfj{z ad m tjgrgysejx j`dayngk iz {eg w`j}wg j`{gyxyg{jtg mijfj{jgs
ad {eg rjsg {gfgtjsja` oa`swngy m`k bymsx ad {eg {gfgtjsja` kjsoawysg ms m kz`mnjo ygmkj`b
swilgo{ {a oem`bj`b oa`kj{ja`s ad {eg oa {gu{wmf nm{yju ad sjb`jdjom{ja` m`k ngm`j b
oa`s{ywo{ja` m`k dwy{egy g`yjoegk iz m xas{oafa`jmf xms{.
99
-
8/8/2019 American Idol, The Construction of the Filipino Performer Identity and the Consumption of Television Entertainment
23/25
RAYC_ OJ[GK
Mifgs& Ejbj`a M. Nmss Oannw`jom{ja` m`k Xejfjxxj`g _aojg{z. ]wg|a` Oj{z< WX Xygss&
988?.M`b& Jg`. W`kgys{m`kj`b [gfgtjsja` Mwkjg`ogeaak.[gfgtjsja` [eg Oyj{jomf Tjgr. Gk.
Eaymog @groani. Audayk< Audayk W`jtgysj{z Xygss& =::;.
Ijb`gff& La`m{em`.M` J`{yakwo{ja` {a [gfgtjsja` _{wkjgs. Oay`rmff& WC< Yaw{fgkbg& 988;.
Omnxanm`gs& Asomy T. [eg Tgy`mowfmy!Faomf& [eg @m{ja`mf& m`k {eg Bfaimf j` Djfjxj`a
_{wkjgs.Cyj{jcm Cwf{wym ? %Lwfz 988?*< 2=4.
Oay`gy& Lae`. Oyj{jomf Jkgms j` [gfgtjsja` _{wkjgs. Audayk< Ofmyg`ka` Xygss& =:::.
Kgf Nw`ka Ly.& Ofakwmfka. [gfgijsza` M` Gssmz a` Xejfjxxj`g [gfgtjsja`. Nm`jfm< OOX&
988?.
Kwmym& Xymsg lj{. gk. Kgoafa`j|m{ja` Xgysxgo{jtgs dyan @ar m`k [eg`. Oay`rmff& WC